DJ-MC: A Reinforcement-Learning Agent for Music Playlist Recommendation

In recent years, there has been growing focus on the study of automated recommender systems. Music recommendation systems serve as a prominent domain for such works, both from an academic and a commercial perspective. A fundamental aspect of music perception is that music is experienced in temporal context and in sequence. In this work we present DJ-MC, a novel reinforcement-learning framework for music recommendation that does not recommend songs individually but rather song sequences, or playlists, based on a model of preferences for both songs and song transitions. The model is learned online and is uniquely adapted for each listener. To reduce exploration time, DJ-MC exploits user feedback to initialize a model, which it subsequently updates by reinforcement. We evaluate our framework with human participants using both real song and playlist data. Our results indicate that DJ-MC's ability to recommend sequences of songs provides a significant improvement over more straightforward approaches, which do not take transitions into account.Comment: -Updated to the most recent and completed version (to be presented at AAMAS 2015) -Updated author list. in Autonomous Agents and Multiagent Systems (AAMAS) 2015, Istanbul, Turkey, May 201

Recommending Podcasts for Cold-Start Users Based on Music Listening and Taste

Recommender systems are increasingly used to predict and serve content that aligns with user taste, yet the task of matching new users with relevant content remains a challenge. We consider podcasting to be an emerging medium with rapid growth in adoption, and discuss challenges that arise when applying traditional recommendation approaches to address the cold-start problem. Using music consumption behavior, we examine two main techniques in inferring Spotify users preferences over more than 200k podcasts. Our results show significant improvements in consumption of up to 50\% for both offline and online experiments. We provide extensive analysis on model performance and examine the degree to which music data as an input source introduces bias in recommendations.Comment: SIGIR 202

Explainability in Music Recommender Systems

The most common way to listen to recorded music nowadays is via streaming platforms which provide access to tens of millions of tracks. To assist users in effectively browsing these large catalogs, the integration of Music Recommender Systems (MRSs) has become essential. Current real-world MRSs are often quite complex and optimized for recommendation accuracy. They combine several building blocks based on collaborative filtering and content-based recommendation. This complexity can hinder the ability to explain recommendations to end users, which is particularly important for recommendations perceived as unexpected or inappropriate. While pure recommendation performance often correlates with user satisfaction, explainability has a positive impact on other factors such as trust and forgiveness, which are ultimately essential to maintain user loyalty. In this article, we discuss how explainability can be addressed in the context of MRSs. We provide perspectives on how explainability could improve music recommendation algorithms and enhance user experience. First, we review common dimensions and goals of recommenders' explainability and in general of eXplainable Artificial Intelligence (XAI), and elaborate on the extent to which these apply -- or need to be adapted -- to the specific characteristics of music consumption and recommendation. Then, we show how explainability components can be integrated within a MRS and in what form explanations can be provided. Since the evaluation of explanation quality is decoupled from pure accuracy-based evaluation criteria, we also discuss requirements and strategies for evaluating explanations of music recommendations. Finally, we describe the current challenges for introducing explainability within a large-scale industrial music recommender system and provide research perspectives.Comment: To appear in AI Magazine, Special Topic on Recommender Systems 202

Support the Underground: Characteristics of Beyond-Mainstream Music Listeners

Music recommender systems have become an integral part of music streaming services such as Spotify and Last.fm to assist users navigating the extensive music collections offered by them. However, while music listeners interested in mainstream music are traditionally served well by music recommender systems, users interested in music beyond the mainstream (i.e., non-popular music) rarely receive relevant recommendations. In this paper, we study the characteristics of beyond-mainstream music and music listeners and analyze to what extent these characteristics impact the quality of music recommendations provided. Therefore, we create a novel dataset consisting of Last.fm listening histories of several thousand beyond-mainstream music listeners, which we enrich with additional metadata describing music tracks and music listeners. Our analysis of this dataset shows four subgroups within the group of beyond-mainstream music listeners that differ not only with respect to their preferred music but also with their demographic characteristics. Furthermore, we evaluate the quality of music recommendations that these subgroups are provided with four different recommendation algorithms where we find significant differences between the groups. Specifically, our results show a positive correlation between a subgroup's openness towards music listened to by members of other subgroups and recommendation accuracy. We believe that our findings provide valuable insights for developing improved user models and recommendation approaches to better serve beyond-mainstream music listeners.Comment: Accepted for publication in EPJ Data Science - link to published version will be adde

The Multisided Complexity of Fairness in Recommender Systems

Recommender systems are poised at the interface between stakeholders: for example, job applicants and employers in the case of recommendations of employment listings, or artists and listeners in the case of music recommendation. In such multisided platforms, recommender systems play a key role in enabling discovery of products and information at large scales. However, as they have become more and more pervasive in society, the equitable distribution of their benefits and harms have been increasingly under scrutiny, as is the case with machine learning generally. While recommender systems can exhibit many of the biases encountered in other machine learning settings, the intersection of personalization and multisidedness makes the question of fairness in recommender systems manifest itself quite differently. In this article, we discuss recent work in the area of multisided fairness in recommendation, starting with a brief introduction to core ideas in algorithmic fairness and multistakeholder recommendation. We describe techniques for measuring fairness and algorithmic approaches for enhancing fairness in recommendation outputs. We also discuss feedback and popularity effects that can lead to unfair recommendation outcomes. Finally, we introduce several promising directions for future research in this area

Modeling Recommender Ecosystems: Research Challenges at the Intersection of Mechanism Design, Reinforcement Learning and Generative Models

Modern recommender systems lie at the heart of complex ecosystems that couple the behavior of users, content providers, advertisers, and other actors. Despite this, the focus of the majority of recommender research -- and most practical recommenders of any import -- is on the local, myopic optimization of the recommendations made to individual users. This comes at a significant cost to the long-term utility that recommenders could generate for its users. We argue that explicitly modeling the incentives and behaviors of all actors in the system -- and the interactions among them induced by the recommender's policy -- is strictly necessary if one is to maximize the value the system brings to these actors and improve overall ecosystem "health". Doing so requires: optimization over long horizons using techniques such as reinforcement learning; making inevitable tradeoffs in the utility that can be generated for different actors using the methods of social choice; reducing information asymmetry, while accounting for incentives and strategic behavior, using the tools of mechanism design; better modeling of both user and item-provider behaviors by incorporating notions from behavioral economics and psychology; and exploiting recent advances in generative and foundation models to make these mechanisms interpretable and actionable. We propose a conceptual framework that encompasses these elements, and articulate a number of research challenges that emerge at the intersection of these different disciplines

Towards Responsible Media Recommendation

Reading or viewing recommendations are a common feature on modern media sites. What is shown to consumers as recommendations is nowadays often automatically determined by AI algorithms, typically with the goal of helping consumers discover relevant content more easily. However, the highlighting or filtering of information that comes with such recommendations may lead to undesired effects on consumers or even society, for example, when an algorithm leads to the creation of filter bubbles or amplifies the spread of misinformation. These well-documented phenomena create a need for improved mechanisms for responsible media recommendation, which avoid such negative effects of recommender systems. In this research note, we review the threats and challenges that may result from the use of automated media recommendation technology, and we outline possible steps to mitigate such undesired societal effects in the future.publishedVersio

Pay-to-Playlist: The Commerce of Music Streaming

Payola—sometimes referred to as “pay-for-play”—is the undisclosed payment, or acceptance of payment, in cash or in kind, for promotion of a song, album, or artist. Some form of pay-for-play has existed in the music industry since the nineteenth century. Most prominently, the term has been used to refer to the practice of musicians and record labels paying radio DJs to play certain songs in order to boost their popularity and sales. Since the middle of the twentieth century, the FCC has regulated this behavior—ostensibly because of its propensity to harm consumers and competition—by requiring that broadcasters disclose such payments. As streaming music platforms continue to siphon off listeners from analog radio, a new form of payola has emerged. In this new streaming payola, musicians and labels simply shift their payments from radio to streaming music platforms like Spotify, YouTube, TikTok, and Instagram. Instead of going to DJs, payments (or their equivalents) go to platforms, third-party playlisters, and influencers who can help promote a song by directing audiences toward it. Because online platforms do not fall under the Federal Communications Commission’s (FCC’s) jurisdiction, streaming pay-for-play is not currently regulated at the federal level, although some of it may be subject to state advertising disclosure laws. In this Article, we describe the history and regulation of traditional forms of pay-for-play and explain how streaming payola practices differ. Our account is based, in substantive part, on a novel series of qualitative interviews with music industry professionals. Our analysis finds the normative case for regulating the most common form of streaming payola lacking: contrary to conventional wisdom, we show that streaming pay-for-play paid to third parties, whether disclosed or not, likely causes little to no harm to consumers and may even help independent artists gain access to a broader audience. The case of “reverse payola,” in which a platform itself offers promotion in exchange for paying out a lower-than-market royalty rate, is potentially more concerning. Given this state of affairs, regulators should proceed with caution to preserve the potential advantages afforded by streaming payola while avoiding further exacerbating extant inequalities and anticompetitive concerns in the music industry